A heady, if uneven, mix of science fiction and thriller with contemporary issues.

NOWHERE ON EARTH

A small plane crashes in the Alaskan wilderness, and stowaways Emily Perez and her younger brother, Aidan, struggle to stay alive.

Trekking across the frozen mountains with a little kid and a hurt pilot requires Emily to use all the skills she has learned from her hardy, outdoorsy parents. Above all, it is imperative to keep Aidan alive, especially when the mysterious men come after them, shooting to kill. Because Aidan is not Emily’s brother at all: He is from outer space, and he is lost on Earth. Aidan also has the power, a useful survival mechanism, to make people want to love and protect him, and Emily will do anything to help him go back home. Lake’s story combines adrenaline-driven survival with a poignant examination of Emily’s ongoing anger toward her family; she feels they don’t truly understand or support her. The novel skirts deeper necessary conversations not only about Aidan’s power to override people’s memories and whether real love can grow from it, but also some of Emily’s actions during their escape. However, the overall message about connecting and empathy is deeply felt, as is Emily’s coming-of-age and understanding of her place in the universe as a young woman with her own voice. Emily’s grandparents came from El Salvador and Germany; most characters are assumed white.

A heady, if uneven, mix of science fiction and thriller with contemporary issues. (Science fiction. 14-18)

Pub Date: May 26, 2020

ISBN: 978-1-9848-9644-5

Page Count: 304

Publisher: Knopf

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s.

GRIS GRIMLY'S FRANKENSTEIN

A slightly abridged graphic version of the classic that will drive off all but the artist’s most inveterate fans.

Admirers of the original should be warned away by veteran horror artist Bernie Wrightson’s introductory comments about Grimly’s “wonderfully sly stylization” and the “twinkle” in his artistic eye. Most general readers will founder on the ensuing floods of tiny faux handwritten script that fill the opening 10 pages of stage-setting correspondence (other lengthy letters throughout are presented in similarly hard-to-read typefaces). The few who reach Victor Frankenstein’s narrative will find it—lightly pruned and, in places, translated into sequences of largely wordless panels—in blocks of varied length interspersed amid sheaves of cramped illustrations with, overall, a sickly, greenish-yellow cast. The latter feature spidery, often skeletal figures that barrel over rough landscapes in rococo, steampunk-style vehicles when not assuming melodramatic poses. Though the rarely seen monster is a properly hard-to-resolve jumble of massive rage and lank hair, Dr. Frankenstein looks like a decayed Lyle Lovett with high cheekbones and an errant, outsized quiff. His doomed bride, Elizabeth, sports a white lock à la Elsa Lanchester, and decorative grotesqueries range from arrangements of bones and skull-faced flowers to bunnies and clownish caricatures.

Grimly plainly worked hard, but, as the title indicates, the result serves his own artistic vision more than Mary Shelley’s. (Graphic classic. 14 & up)

Pub Date: Aug. 27, 2013

ISBN: 978-0-06-186297-7

Page Count: 208

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: July 3, 2013

Kirkus Reviews Issue: July 15, 2013

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This story is necessary. This story is important.

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THE HATE U GIVE

Sixteen-year-old Starr Carter is a black girl and an expert at navigating the two worlds she exists in: one at Garden Heights, her black neighborhood, and the other at Williamson Prep, her suburban, mostly white high school.

Walking the line between the two becomes immensely harder when Starr is present at the fatal shooting of her childhood best friend, Khalil, by a white police officer. Khalil was unarmed. Khalil’s death becomes national news, where he’s called a thug and possible drug dealer and gangbanger. His death becomes justified in the eyes of many, including one of Starr’s best friends at school. The police’s lackadaisical attitude sparks anger and then protests in the community, turning it into a war zone. Questions remain about what happened in the moments leading to Khalil’s death, and the only witness is Starr, who must now decide what to say or do, if anything. Thomas cuts to the heart of the matter for Starr and for so many like her, laying bare the systemic racism that undergirds her world, and she does so honestly and inescapably, balancing heartbreak and humor. With smooth but powerful prose delivered in Starr’s natural, emphatic voice, finely nuanced characters, and intricate and realistic relationship dynamics, this novel will have readers rooting for Starr and opening their hearts to her friends and family.

This story is necessary. This story is important. (Fiction. 14-adult)

Pub Date: Feb. 28, 2017

ISBN: 978-0-06-249853-3

Page Count: 464

Publisher: Balzer + Bray/HarperCollins

Review Posted Online: Dec. 6, 2016

Kirkus Reviews Issue: Dec. 15, 2016

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